First exhibition of the Society of American Artists
, Tho Society of American Artist. The finest exhibition of the Society of American artists opsned at tho Kurta Gallory, In Twonty - third street, New York, yontsrday, and remains remains open for one month. The Society Is formed for the purposo of advancing tho interests of (ho younger art element among American painterj, both at homo and abroad. Its President, Mr. Waltor Sblrl.iw, lg a well known New York artist, and among its list of members wo find the names of B. Swain Gifford, Samuel Colmau, J. Alden Weir, Thomas Moran, A. H. Wyant and Louis C. Tiffany. A private view of the pictures was given to artists and tho press on Monday evening. The motto adopted by the Hang ing Committee seems to have been " not name but merit," for a largo number of the best pictures havo found a place ou the line irrespective of the celebrity of the artists that painted them. Tho Hanging Committee Committee have also taken paius to number the pictures properly, beginning with Number 1 snd going around the gallory taking tho pictures in thoir regular order up to number 122, the last on the catalogue,, so that it ia vory easy to find any picture you desire to see, which Is a great deal . more than oan be said of many of tho Academy exhibitions whore numbor 1 waa very likely placed by tho nldo of number 101, and so on. Tbe Hanging Committee baro also takon pains to have all tho pictures exhibitod by ono artist huug near oach othor. A vory noticeable instance of this fact is to be soen in the banging of William M. Chase's pic tures. Here we find his latest and perhaps his best work, "Ready for tho Ride," Numbor 53, plao'd by the Bido of two other pictures by him, " Tho Woundod Poacher," number 66, add the " Apprentice," number 57. Chase is spokon of by many as one of the moat promising of tho younger Amorioun artists. "Heady for the Rtdo" is a very strongly troatoi plcturo, tho ooloring and drawing being remarkable. He seems to havo aimed at a Rombrandt olloct In this work, aud the old Dutoh school is plainly visible in tho treatment of both the figure and tho dark, shadowy background. "The Woutiied Poaohor" and "The Apprentice'' ara both fine examples of tho Munich school, iu which Mr. Chase has studied, but tho flrat mentioned work is cr - talnly tho finest he has yet sent home. A vory peculiar landscape in thia exhibition is No. S, "Studio of Corot," by Robert O. Miner. Tho artist baa naught the droamy, hazy offoct obsorvablo iu Corot's pictures, and the wliolo work Is vory muoh in Corot's stylo. Another excellent lsudscape is It. Swain Gilford's, "An Old Orchard Near tin Hca,'' No. 35, and also hia "Windy Day in Soptombor,' No. 27. A vory odd ploturo and one that will not bo generally appreciated by the public is the "Bohemian Beggar," No. 5, by J. Frank Curnor. It is one of the broadest broadest tjpos of tho Munich school we ever rcmombor to have seen, and at flist it would strike you as oithor aa unfinished work or a poor au"alr,but in order to propor - ly appreciate II you must stand a Ilttla dlstanco away, then you will llud that tho figure of tbo beggar stands out strongly from tho canvas, and that the work has. indeed, a vast amount of merit. A. H. Wyant is represented in this exhibition l - y two very pleasing landscapes, "The Edge of a Wood," No. 78, snd "A Path in tho Woods," No. 96, both very warm in color aud good examples of bis charming stylo. Thomas Moran exhibits three of his best works tbe "Kanab Canon, Southern Utah," Number 31, being tbe moat ambitious of tho lot, although "An Autumn Afternoon," Number 19, wdl be pronouncsdby many the gem of the lot. Good Morning," by Walter Shirlaw, Number 23, Is ono of the very finest in this judiciously seleotod collection. collection. Tho treatment of tho wholo work Is vigorous, tho painting of the oxcited tlojk of geese being truly marvelous. Some of the other noticeably gcod'pioturos in this ex hibition are a very strong portrait of William Cullen Bryant, Number 52, by Wyatt Eaton; "A Shoperdess and Her Flock," by Frederick D. Williams, Number 67; 'The Bird Fanciers,' by Milne Ramsey, Number 08 ; 'The Mower," by Louis C. 'Tiffany, Number 70, and "Fishing For Oysters at Cancalo,'' by John 8. Sargent, Number 23, while wo would oall attention to a small work by Mr. Frank E. Bogs, "An Oil Mill at Aron - teull," Number 35, as showing the mirked progress of ono of Brooklyn's most promising young artists now painting iu Paris, Wo cannot close this noiic; without expressing snr - prlss at finding such a miserable pioture as Number 81 admitted to this exhibition. It Is a hard, badly treated portrait, and its Immense size only renders its dofects all tho moro glaring. It ia a great pity that 83 crude a work should have found a plaos in a collection so generally excellent.